Cornelius Brothers and Sister Rose – Treat Her Like a Lady

Always loved this song. It has a great groove and a dynamic chorus. I also like the repeated backups. This is one soul song our band played and we loved every minute of it. That guitar is simple yet so effective in the verses. It’s a very powerful song live. This is high on my list of soul songs.

The group was formed in Dania Beach, Florida, and consisted of three siblings… Carter Cornelius, Eddie Cornelius, and Rose Cornelius. Later, they were joined by their sister, Billie Jo Cornelius, completing the lineup. The group started performing in the late 1960s and quickly gained a reputation for their smooth harmonies and soulful performances.

1971 was a big year for the band…they released this song and it peaked at #3 on the Billboard 100 and #10 in Canada in 1971. The group would also hit the following year with Too Late to Turn Back Now and it peaked at #1 in Canada and #2 on the Billboard 100 in 1972. Both songs were off their debut album Cornelius Brothers and Sister Rose. The song was written by Eddie Cornelius.

These two songs would be their last top 20 hits in America. They did have two more top-40 hits but nothing that lasted. The group broke up in 1976.

Treat Her Like a Lady

All my friends had to ask meSomething they didn’t understandHow I get all the womenIn the palm of my hand

And I told them to treat her like a lady (Treat her like, you got to, got to treat her like)Do the best you can do (Treat her like, you got to, got to treat her like)You got to treat her like a lady and she’ll give in to youLord you can see, you know what I mean

I know you’ve heard (Treat her like)That the woman (Got to treat her like)Will soon take advantage of you (Treat her like, got to treat her like)Let me tell you (Treat her like)My friend (Got to treat her like)There just ain’t no substitute (Treat her like)

You ought to treat her like a lady (Treat her like, you got to, got to treat her like)Do the best you can do (Treat her like, you got to, got to treat her like)You got to treat her like a lady and she’ll give in to youLord you can see, you know what I mean

Oh, you got to love her (Love her)And tease her (Tease her)But most of all you got to please her (Please her)You got to hold her (Hold her)And want her (Want her)And make her feel you’ll always need her (Need her)You know a woman (Woman)Is sentimental (Woman)And so easy to upset (Woman, woman)So make her feel (Feel)That she’s for real, yeah (Feal)And she’ll give you happiness

Whoa, strange as it seems (Treat her like, you got to, got to treat her like)You know you can’t treat a woman mean (Treat her like, you got to, got to treat her like)So my friend, there you have itI said it’s the easy, simple wayIf you fail to do this, don’t blame her if she looks my way

‘Cause I’m gonna treat her like a lady (Treat her like, you got to, got to treat her like)So affectionately (Treat her like, you got to, got to treat her like)I’m going to treat her like a ladyAnd she’ll give in to meLord you can see, you know what I mean

Oh, you got to treat her like a lady (Treat her like, got to, got to treat her like)Do the best you can do (Treat her like, you got to, got to treat her like)You got to treat her like a lady

AC/DC – Baby Please Don’t Go

When I first saw this video it highly amused me. Seeing Bon Scott in pigtails caught me off guard. They did a great version of this song…I will always turn to Van Morrison’s Them as my definite version, but this one is a lot of fun.

This song appeared on their debut album High Voltage released in 1974. Bon Scott was an excellent singer. He was in a pop band called The Valentines and it’s odd, to say the least seeing him singing in this band. He adapted well to what was asked of him with AC/DC.

The band toured relentlessly in the mid to late seventies and when they released Highway To Hell, it was a milestone for them. They set themselves up for a huge payday on the next album. Scott died in 1980 as they were starting on their new album which turned out to be the mega-selling Back In Black. I think if Scott had lived they would have had just as big of an album. The Highway To Hell album was the key to getting them known worldwide.

Blues great Big Joe Williams is credited with writing this song, but it was developed from a folk song titled “Long John,” which was recorded in 1934 by John and Alan Lomax for the Library of Congress. That recording captures the song sung by black prisoners at Darrington State Prison Farm in Texas. It was a popular tune because “Long John” was about an escaped prisoner on the run from authorities.

Baby Please Don’t Go

Baby please don’t goBaby please don’t goBaby please don’t go down to New OrleansYou know I love you soBaby please don’t go

When the man done goneWhen the man done goneWhen the man done gone down to the county farmHe got the shackles onBaby please don’t goDon’t leave me

I’ll be a dogI’ll be a dog woahI’ll be a dog kiss your way down thereWhen you walk alongBaby please don’t go

Baby please don’t goBaby please don’t goBaby please don’t go down to New OrleansYou know I love you soBaby please don’t go

No baby please don’t leave meWhy must you go away and do this to me babyI want to suffer for you, suffer, sufferOh baby please don’t goNo!

Baby, baby, baby, please don’t go, please don’t goDon’t go and leave me, please don’t goBaby, hummBaby, ahahOh don’t go, no don’t goOh don’t go, no don’t goAh don’t go, don’t go so slowOh don’t go, no don’t go

Why must you leave me lying on my backGoing across left side of the trackFound yourself a new man I knowSo baby please don’t goBaby please don’t go

No no no noOh please, please don’t leave meI don’t want to be left alone babyAh don’t go, don’t go, don’t goNo!

My Favorite Soul Songs

I love this genre of music. I really could put these songs in any order I wanted and it would work. I had to leave so many off…I could easily make this list with 100 different artists but I wanted the page to actually load so you could read it. This is just a partial list…if you like it I could do a part II one day.

James Carr – Pouring Water On A Drowning Man

No…his name is not a household name like the rest of the list but this song just gets to me every single time I listen to it. If you don’t listen to any other song on this post…give this one a try. I dropped Sam Cooke from this list because of Carr but I like this song that much.

His voice and that wonderful guitar. Pouring Water on a Drowning Man charted at #85 on the Billboard 100 and #23 on the R&B Chart in 1966. This song is so easy to listen to. Great guitar sound and Carr’s voice is wonderful. The small intro is worth it. The guitar can sound can seem so deceptively easy but it’s not to be right. He lived in Memphis and was called  “the world’s greatest Soul Singer” but he had a bipolar disorder and that made it hard for him to tour because of the depression.

At one time he was mentioned along with Otis Redding and they had the same manager for a while. The guy had a great voice. Check his other music out.

Arthur Conley – Sweet Soul Music

Otis Redding believed in Conley’s talent. In January 1967 Redding and his managers, Phil Walden (future ABB manager) and his brother Alan Walden (future Lynyrd Skynyrd manager) brought Conley to producer Rick Hall’s FAME Studios in Muscle Shoals, Alabama. Conley recorded two singles at FAME Studios but they were not successful and Hall did not want to work with Conley anymore.

By this time Otis was fed up and took Conley himself to FAME and used his own band. With Jimmy Johnson Engineering they recorded Sweet Soul Music. It was a million-selling single. It peaked at #2 on the Billboard 100, #2 in the R&B Charts, and #7 in the UK in 1967.

It was written by Conley and Otis Redding. It was based on “Yeah Man” by Sam Cooke and was a tribute to soul singers. The songs mentioned in this song are “Going To A Go-Go,” “Love’s a Hurtin’ Thing,” “Hold On I’m Coming,” “Mustang Sally” and “Fa-Fa-Fa-Fa-Fa (Sad Song).” The artists mentioned are Otis, Wilson Pickett, Sam and Dave, James Brown, and Lou Rawls.

Marvin Gaye – Let’s Get It On

I never checked the statistics…but I have to think there had to be a baby explosion nine months after “Let’s Get It On” was released in 1973. Anyone born in 1974 may owe their very existence to this song.

This song’s co-writer Ed Townsend also produced the album with Marvin and co-wrote the three other songs on the first side of the disc, including “Keep Gettin’ It On.” He wrote with Marvin again on songs for Marvin’s 1978 album Here, My Dear.

This song peaked at #1 in the Billboard 100, The guitar and voice are excellent in this song. There is no guessing what this song is about.

Otis Redding – Shake

This song was a highlight when watching the Monterey Pop Festival. Otis had the voice, charisma, and loads of talent. Shake was written and originally recorded by Sam Cooke. Cooke’s version reached #7 on the Billboard 100. Cooke was a huge influence on Otis Redding; along with Shake, Redding also recorded covers of Cooke’s A Change Is Gonna Come, Chain Gang, Cupid, Nothing Can Change This Love, Wonderful World, and You Send Me.

The song peaked at #47 on the Billboard 100 in 1967. Otis was on his way to superstardom. Otis made a huge impact at the 1967 Monterey Pop Festival along with The Who, Jimi Hendrix, and Janis Joplin.

The Reverend Al Green – Let’s Stay Together

I never tire of hearing his voice. This song almost wasn’t released because Green hated the thin sound of his falsetto. Producer Willie Mitchell said: “The only fight I ever had with him was about ‘Let’s Stay Together,’ because he thought ‘Let’s Stay Together’ was not a hit.” It did pretty well for a song Green didn’t think was a hit.

The song peaked at #1 in the Billboard 100, #7 in the UK, and #14 in Canada in 1972. Let’s Stay Together also spent nine weeks at the top of the Billboard Hot Soul Singles chart.

It was selected by the Library of Congress as a 2010 addition to the National Recording Registry, which selects recordings annually that are “culturally, historically, or aesthetically significant.

Brothers At Arms – The Bee Gees

We all know the great album Brothers in Arms from Dire Straits, but sometimes those brothers are “at arms” rather than in them. In this part of the mini-series Randy, from mostlymusiccovers.com, talks about the “Rock ‘Em Sock ‘Em” Siblings of the Bee Gees.

“To Love Somebody” was written by Robin and Barry Gibb. It was released as a single in 1967 and reached #41 in their native UK. The song did better elsewhere making several top 10s and #17 on the Hot 100. It would be a cover by Michael Bolton released in 1992 that put it at #1 on the Adult Contemporary charts in Canada and the US. It has endured to become a classic with over 210 versions of the song.

Formed in 1958 with brothers Barry, Robin and Maurice. After the family’s move to Australia they found their first success, just the three boys returned to their native UK in 1967. They would go on to sell an estimated 200 million records, post nine #1s on the Hot 100 and entered the top five of the most successful bands in history.

Life was not so easy, with an unreliable father they became the bread winners for the family at a very young age. Despite the pressures the boys got on quite well, until the dreaded “S” word enter in. Success. Their first #1 in the UK was “Massachusetts” in 1967. Robin sang lead on it and it was a position he was not willing to give up. The in-fighting began.

This is not perhaps the level of fighting on the same scale as some of our other brother groups, but they were not producing any hits and Robin was really at the heart of a split up in 1969. The reconciliation produced their first US #1 Hot 100 hit, “How Can You Mend a Broken Heart” in 1971. It was very much an autobiographical song. Success is fleeting in the music business and another downturn followed as their next album was a flop. By 1975 they had all moved to the US. Both Robin and Maurice struggled mightily with addiction problems. Robin seemed to tolerate the more democratic Barry becoming the defacto leader, but there were tensions. Not enough though to stop them from reinventing themselves yet again.

The Disco era and Saturday Night Fever saw them rise to incredible worldwide success with eight Hot 100 #1 hits in the mid to late 1970s. Younger brother Andy would join in the success. Everyone knows the rise and fall of Disco, and no one paid a heavier price than the Bee Gees. All of a sudden no one wanted to hear a Bee Gees song. In fact, they were and are still hated by some. I was not a disco fan, but I was a Bee Gees fan, and I took my fair share of ribbing for it.

Despite all this turmoil surrounding them, only minor tensions erupted, and Barry, Maurice and Robin would discover other people respected their songwriting abilities. First came “Woman in Love” by Barbra Streisand, and then “Islands in the Stream” by Dolly Parton and Kenny Rogers, both worldwide #1 smash hits. And also, songs for Dionne Warwick, Diana Ross and others. So, the brothers Gibb had risen from the ashes for yet a third time but as songwriters. And then remarkably a fourth time, as recording success returned once again and they placed four more songs in the top 10 in the UK in the 90s.

Maurice would die at age 53 in 2003 and despite attempts to regroup, the band that was the Bee Gees were effectively no more. Younger brother Andy had died in 1988 and Robin in 2012. Barry the oldest, has continued to record and perform.

Bruce Springsteen – It’s Hard To Be A Saint In The City

I had skin like leather and the diamond-hard look of a cobra
I was born blue and weathered but I burst just like a supernova
I could walk like Brando right into the sun, then dance just like a Casanova

What an opening that is…nothing like early Springsteen.  The line I could walk like Brando right into the sun makes me get a chill every time. This song was on his debut album and still one of my favorite Springsteen albums, Greetings From Ashbury Park. This was the first song Springsteen played for John Hammond (who signed Bob Dylan and Springsteen) at his audition for Columbia Records in 1972. What was to be a short meeting turned into a 2-hour audition and earned him a record deal and this album was made.

I think of this as a street song…very organic and the words just flow perfectly.  Springsteen and Dylan had wordy songs out of the gate for both artists. They both stopped with these kinds of songs a few years into their career. Personally, I love these early wordy songs that take you on a journey with vivid descriptions with a minimum amount of music…as they let the lyrics drive.

The imagery flows like water with Greetings From Ashbury Park, Bruce’s debut album in 1973… It’s not very polished but that adds to it.  The songs have a stream-of-consciousness feel to them. It was critically praised but did not have huge sales. The album only peaked at #60 in the Billboard Album Charts.

The song has been covered by various artists, including David Bowie, who recorded a version during the sessions for his Young Americans album but wasn’t released at that time. It can be found on his 1989 rarities box set Sound + Vision.

I always felt this song what have fit in the movie Mean Streets.

It’s Hard To Be A Saint In The City

I had skin like leather and the diamond-hard look of a cobra
I was born blue and weathered but I burst just like a supernova
I could walk like Brando right into the sun, then dance just like a Casanova
With my blackjack and jacket and hair slicked sweet
Silver star studs on my duds, just like a Harley in heat
When I strut down the street, I could feel its heart beat
The sisters fell back and said, “Don’t that man look pretty”
The cripple on the corner cried out, “Nickels for your pity”
Then gasoline boys downtown sure talk gritty
It’s so hard to be a saint in the city

I was the king of the alley, Mama, I could talk some trash
I was the prince of the paupers, crowned downtown at the beggar’s bash
I was the pimp’s main prophet, I kept everything cool
Just a backstreet gambler with the luck to lose
And when the heat came down it was left on the ground
The devil appeared like Jesus through the steam in the street
Showin’ me a hand I knew even the cops couldn’t beat
I felt his hot breath on my neck as I dove into the heat
It’s so hard to be a saint when you’re just a boy out on the street

And the sages of the subway sit just like the living dead
As the tracks clack out the rhythm, their eyes fixed straight ahead
They ride the line of balance and hold on by just a thread
But it’s too hot in these tunnels, you can get hit up by the heat
You get up to get out at your next stop, but they push you back in your seat
Your heart starts beatin’ faster as you struggle to your feet
Then you’re outa that hole and back up on the street

And then South Side sisters sure look pretty
The cripple on the corner cries out, “Nickels for your pity”
And then downtown boys, they sure talk gritty
It’s so hard to be a saint in the city

Max’s Drive-In Movie – The Good, The Bad, and The Ugly

The Good, The Bad, and The Ugly

I love Spaghetti Westerns and this is one of the very best. Let’s see…great writing, great acting, and great music. The Good (Clint Eastwood – Blondie), The Bad (Lee Van Cleef -Angel Eyes or Sentenza), and The Ugly (Eli Wallach – Tuco) is a classic movie with a great film score by Ennio Morricone.

While I was re-watching the movie my son Bailey came in and asked me…so you are watching the best movie ever again? Where do I begin with this movie? I like the story and the atmosphere draws me in for repeat viewings. In 1964 Sergio Leone started his trilogy of westerns starring Clint Eastwood. It’s sometimes called the Dollars Trilogy. A Fistful of Dollars (1964), For A Few More Dollars More (1965), and finally this one…The Good, The Bad, and The Ugly (1966).

This is not your typical John Wayne-style Hollywood western…although I love a lot of his movies. Funny, in the early 2000’s I never thought much about Westerns or really liked them…but this one changed my mind about the entire genre…it’s that good.

This film has an epic scope and therefore covers a lot of ground. There is not a dull spot in this film. From the beginning, we are guessing and it all leads up to one of the very best suspenseful endings ever filmed. As much of an Eastwood fan as I am…Eli Wallach grabbed my attention before anyone did. His character is such a wild card. I can’t say enough about his acting in this. He IS Tuco. All three leads were fantastic.

What exactly is a Spaghetti Western? I was asked this before when I would talk about them to different people about Westerns. I think the biggest difference between a regular Western and these would be the realism and the grittiness of the Spaghetti Western. Also with regular Westerns, you have good vs evil…Spaghetti Westerns often feature the in-between anti-heroes, huge stark landscapes, and a more cynical tone. But that is just my opinion.

These films were primarily made in Italy (hence the term “Spaghetti”) during the 1960s and 1970s. They were often directed by Italian filmmakers like Sergio Leone and featured international casts, including American actors.

There is one more thing I would like to say about the movie. On top of everything else…the cinematography is some of the best I’ve ever seen. You also have Eastwood in probably his most iconic role. Out of all of the movies I’ve featured…I have probably watched this one the most.

My favorite scene was the last bit between Blondie and Tuco.

The Good, The Bad, and The Ugly Header eyes

Plot from IMDB

During the American Civil War, three men set off to find $200,000.00 in buried gold coins. Tuco and Blondie have known each other for some time now, having used the reward on Tuco’s head as a way of earning money. They come across a dying man, Bill Carson, who tells them of a treasure in gold coins. By chance, he reveals the name of the cemetery and the name of the grave where the gold is buried. Now rivals, the two men have good reason to keep each other alive. The third man, Angel Eyes, hears of the gold stash from someone he’s been hired to kill. All he knows is to look for someone named Bill Carson. The three ultimately meet in a showdown that takes place amid a major battle between Confederate and Union forces.

Quotes:

  • Blondie: You see, in this world there’s two kinds of people, my friend: Those with loaded guns and those who dig. You dig.

______

  • [Tuco is in a bubble bath. The One Armed Man enters the room]
  • One Armed Man: I’ve been looking for you for 8 months. Whenever I should have had a gun in my right hand, I thought of you. Now I find you in exactly the position that suits me. I had lots of time to learn to shoot with my left.
  • [Tuco kills him with the gun he has hidden in the foam]
  • Tuco: When you have to shoot, shoot. Don’t talk.

______

  • Tuco: I’m very happy you are working with me! And we’re together again.
  • [pause]
  • Tuco: I get dressed, I kill him and be right back.
  • Blondie: Listen, I forgot to mention… He’s not alone. There’s five of ’em.
  • Tuco: Five?
  • Blondie: Yeah, five of ’em.
  • Tuco: So, that’s why you came to Tuco.
  • [pause]
  • Tuco: It doesn’t matter, I’ll kill them all

..,

Delfonics – Didn’t I (Blow Your Mind This Time)

Welcome to the Powerpop.blog! I thought about renaming it to PowerKink.blog lately… but we are back to normal business again. I’m sad because there are so many more Kinks songs to explore. I have one ready to go soon. Anyway…

I’ve always liked this song and even more when it was on the Jackie Brown soundtrack. Not only on the soundtrack but it became part of the plot. Jackie Brown is one of my top Quentin Tarantino movies. Pam Grier is super (or any glorious adjective you can think of) in that movie. The song is a quintessential date song.

Thom Bell, one of the pioneers of the Philadelphia soul sound, co-wrote and produced the song along with William Hart. Bell’s orchestral arrangements and Hart’s falsetto vocals created a great sound soul sound. It became one of the group’s most successful hits and is widely regarded as an example of early Philadelphia soul sound.

A little history on them. Thom Bell also produced for The Stylistics, Chubby Checker, and Elton John. But his main focus was the Philly sound, which is soul music characterized by funk influences and lush instrumental arrangements.

The Delfonics were known as The Five Guys and played their own instruments. Bell cut them down to a trio and made them a vocal group, with Bell playing most of the instruments himself. He recorded three albums with the group and this song was their biggest hit. Bell then joined Philadelphia International Records, run by Kenny Gamble and Leon Huff, where he worked with The Stylistics.

Didn’t I (Blow Your Mind This Time) peaked at #10 in the Billboard 100, #12 in Canada, and #22 in the UK  in 1970. Their first hit was La-La Means I Love You which charted in 1968 and was a top ten hit as well.

Great song from a great period.

I don’t care much about awards but Didn’t I (Blow Your Mind This Time) won a Grammy Award for Best R&B Performance by a Duo or Group with Vocal in 1971.

Didn’t I (Blow Your Mind This Time)

I gave my heart and soul to you, girl
Didn’t I do it baby, didn’t I do it baby

Gave you the love you never knew, girl
Didn’t I do it baby, didn’t I do it baby

I’ve tried so many times and that’s no lie
It seems to make you laugh each time I cry

Didn’t I blow your mind this time, didn’t I
Didn’t I blow your mind this time, didn’t I
Listen

I thought that heart of yours was true, girl
Now didn’t I think it baby, didn’t I think it baby

But this time I’m really leavin’ you, girl
Hope you know it baby, hope you know it baby

Ten times or more, yes, I’ve walked out that door
Get this into your head, there’ll be no more

Didn’t I blow your mind this time, didn’t I
Didn’t I blow your mind this time, didn’t I

Didn’t I do it baby, didn’t I do it baby
Didn’t I do it baby, didn’t I do it baby

Ten times or more, yes, I’ve walked out that door
Get this into your head, there’ll be no more

Didn’t I blow your mind this time, didn’t I
Didn’t I blow your mind this time, didn’t I
I got to live you, baby

Didn’t I blow your mind this time, didn’t I
Didn’t I blow your mind this time, didn’t I

Kinks Weeks – Sitting In The Midday Sun …cincinnatibabyhead.wordpress.com

Today we have CB from https://cincinnatibabyhead.wordpress.com/ who is posting his Kinks song. Go visit his site for some cool music and movies. I’ve been influenced by all of you bloggers. You opened my eyes and ears to new music and styles. CB has been one of those influences by getting me out of my former comfort zone and enjoying new/old music that I wouldn’t have heard otherwise… Take it away CB…

Six Kinks songs popped into my head right away when Max ran this idea by me. I stuck a pin in this one.

One of those everyman songs Ray sings. The song’s character (From Preservations Act I) observing the world as he sees it. He’s happy and that makes the listener happy.  Kind of a Sunny Afternoon vibe. Ray did like certain themes and summer/sunshine was one of them. This song has been in regular rotation in my head for a long time. It just puts me in a good mood and reminds me to chill out.

“I’ve got no home

I’ve got no money

But who needs a job when it’s sunny”

I just love the lyrics and the music that goes with it. Sets the mood. CB wants to be the character in this song. Just watching the world go by.

Lets live in the moment with the Kinks and celebrate one of life’s pleasures. Soaking up some rays and taking it easy. I’m in. No one does it better than the Kinks.

So sing along

“So I’m just sitting in the midday sun

Just soaking up that currant bun

With no particular purpose or reason

Sitting in the midday sun”

Note: My son (Big Earl) was over for a visit. I told him I was taking part in a discussion on Kinks songs. I asked him if he had a couple favorites and without hesitation he said “Waterloo Sunset and “Till The End Of The Day” The Kinks are still reaching new ears.

Note 2: For years I thought “currant Bun” has something to do with the sun. I finally found out it does “The Sun” a tabloid in England. There you go Max, I did some homework for you.

Note 3: I’m a big fan of the Kinks concept albums Soap Opera, Preservations Acts I and II, Schoolboys In Disgrace. Not well received commercially but they were full of really good stuff.

Note 4: I’ve enjoyed opening these takes everyday and seeing what all you good people have to say on the Kinks. I was not disappointed. Great stuff. Max is a beauty.

My Childhood and Teenage Crushes

I thought I would have some fun today and list some of my crushes growing up. Women who I would watch every time they were on television, in movies, or look at when they were in magazines.

Dawn Wells

Growing up with Gilligans Island and that baffling question. Mary Ann or Ginger? I vote for Mary Ann every time. I met Dawn Wells in Nashville at a Jerry Lewis MD Telethon. I was 9 years old and I could hardly speak. She wasn’t too much taller than I was…and I never saw someone that tanned. My mom had to make me wash my hands after I shook hers.

Kristy McNicol

One of the first then current celebrities I had a crush on was Kristy McNicol. Why I don’t know but when I was 10 years old she was the one I really zeroed in on. She is 5 years older than me and I noticed her on Battle of the Network Stars.

Kate Jackson

I moved up to mature women with this crush. Yeah, I liked Charlie’s Angels like every other 10-18-year-old at that time. Kate Jackson was the one for me for some reason…

Debbie Harry

I was smitten when I saw Debbie Harry in a video for Heart Of Glass at 12 years old. Probably my second blonde crush.

Suzanne Pleshette

Suzanne Pleshette… that is one of the reasons I kept watching The Bob Newhart Show…and still do!

Olivia Newton JohnThe ultimate girl next door… I saw her on the Midnight Special when I was 8 years old. So…Olivia Newton-John would be the first blonde crush.

Jayne Kennedy 2

I started watching sports in 1977…and she started to pop up on football telecasts. She made football much more interesting to this baseball fan.

Katherine Ross

Katherine Ross, I watched first in the Graduate. I liked everything she did.

Drew Barrymore

When I was much older…in my twenties…Drew Barrymore was on my radar.

Clara Bow

When I was in my teens I read a book on Clara Bow and I’ve been hooked to this day. Her looks, her drive, and the obstacles she had to overcome to be successful.

Kinks Weeks – When I Turn Off The Living Room Light …thesoundofonehandtyping.com

This post is by John from https://thesoundofonehandtyping.com . John’s blog has different subjects and he will post songs that I had completely forgot about. I like talking guitars with John also…He is an internet disc jockey, lover of old TV (especially the commercials), inveterate wise guy.

I’m not a huge Kinks fan, as I told Max, but there is one song I’m familiar with that I’m rather fond of…

Back in the late 1960’s and early 1970’s, Warner Brothers Records would advertise sample albums on the inner sleeves of their albums. They were cheap as chips (maybe $2 for a double album), and had songs from albums they were trying to sell. That’s where I first heard this song, “When I Turn Off The Living Room Light.” At the time, the song was marked as “unreleased,” but it later appeared on the band’s 1973 Reprise album, The Great Lost Kinks Album. Wikipedia (https://en.wikipedia.org/wiki/The_Great_Lost_Kinks_Album), which, as everyone knows, is The Blogger’s Best Friend (trademark), tells the story of that album…

On 2 July 1969, Ray Davies and manager Robert Wace delivered numerous tracks to Reprise Records’s offices. Most of them were for the Kinks’ 1969 studio album, Arthur, as well as a potential Dave Davies solo album. They delivered an extra reel of twelve songs, marked as “spare tracks” and not assigned a master tape number, indicating they were likely not planned for an immediate release. Author Doug Hinman suggests the additional songs’ delivery was likely due to a contractual obligation that the Kinks provide the label a set number of songs over a scheduled period. Ray Davies later expressed he was hesitant to deliver them because he did not feel they were up to standard and wanted to include a note explaining, “please, we’re just fulfilling our contract, just put it in a vault somewhere.”

 In 1971, the Kinks’ seven-year contract with Reprise was set to expire. Disappointed with several clauses in the band’s contract, Davies opted to instead sign the band with RCA Records. The same year, Reprise rejected the Percy soundtrack album for US release, finding it lacked commercial potential in the American market. Because they did not release Percy, executives at Reprise determined that the Kinks contractually owed the label one more album.

All that said, here’s the song. I will warn you that the first line implies that Jewish women aren’t attractive. At the time, I was in high school where a significant number of my classmates were Jewish girls, many of whom were VERY attractive, so I don’t know what he was talking about… Anyway, the lyrics are in the video…

Traffic – Freedom Rider

Here is a small intermission from The Kinks…

I listen to this and it’s a fantastic escape from this world we live in. You have Winwood’s great voice with this free-flowing music. There are not too many songs you will hear me say “Hey listen to that flute!” but this is one of them. It’s not a commercial song but it’s pure Traffic.

This song was on the album John Barleycorn Must Die released in 1970. It was originally intended to be a Steve Winwood solo project after Traffic had disbanded in 1969. However, during the recording process, Winwood reunited with Jim Capaldi and Chris Wood, and the project turned into a Traffic album although they didn’t have Dave Mason.

The album was recorded at Island Studios in London. The sessions were mostly free-form and experimental, with the band members bringing their different influences. This differs from their earlier psychedelic sound to a more jazz-influenced and progressive rock style. It works well and I’ve listened to the album this week at work several times through.

The album peaked at #5 in the Billboard 200, #6 in Canada, and #11 in the UK in 1970 but the song did not chart.

Freedom Rider

Like a hurricane around your heart
When earth and sky are torn apart
He comes gathering up the bits
While hoping that the puzzle fits

He leaves you
He leaves you
Freedom rider

With a silver star between his eyes
That open up at hidden lies
Big man crying with defeat
See people gathering in the street

You feel him
You feel good
Freedom rider

When lightning strikes you to the bone
You turn around, you’re all alone
By the time you hear that siren sound
Then your soul is in the lost and found

Kinks Weeks – Low Budget … freefallin.home.blog

This is Ricky and he is my cousin I’ve known since I was a kid. I would go over to his house in the ’70s and ’80s, play baseball, ride bikes, and later on…watch MTV. He has some good posts about some well-known and rare bands. You can find him at https://freefallin.home.blog/

The title cut from their 1979 album. The song did not chart, but the album became their best-selling non-compilation album in the U.S. It was a flop in the U.K. I’m always on a low budget.

From Wikipedia

“Low Budget” was recorded in January 1979. It describes a man giving up his “expensive tastes” in order to save money. Like many of the tracks on Low Budget, it applies to the economic troubles occurring during the time that the album was released, such as strikes in Great Britain. However, AllMusic‘s Richard Gilliam claimed that the track’s theme could “easily apply to just about any modern recession”.

Although “Low Budget” refers to economic problems of the times in general, it also refers to some of Ray Davies’ own personal concerns. In the song, Davies mocks his own fear of not having money and his frugality. The song also references Davies’ vanity. The singer describes himself as once being well dressed and able to afford cigars, but now has to buy discount clothes and chew mints. He describes himself as “a cut-price person in a low-budget land.” But despite being reduced to poverty, the singer expresses pride in his hair and his teeth. Author Thomas Kitts notes that even the title, used in the refrain “I’m on a low budget” could refer to Davies keeping himself on a tight budget.

When asked which guitar performance he was most proud of, The Kinks’ guitarist Dave Davies noted “Low Budget,” as well as “You Really Got Me,” as a favorite. He said of this:

I like “Low Budget” [1979]. It’s wild. I like that kind of, almost country-style playing. It’s like a shape; I don’t even worry about what notes I play as I’m doing it. And if you catch a few open strings, you might get lucky with a weird clunk or a harmonic or something. I think all the best stuff is the stuff that happens before you’ve even realized what you’ve done. So “Low Budget” and, obviously, “You Really Got Me.”

— Dave Davies, Guitar World, 2014

Low Budget

Cheap is small and not too steep
But best of all cheap is cheap
Circumstance has forced my hand
To be a cut price person in a low budget land
Times are hard but we’ll all survive
I just got to learn to economize

I’m on a low budget
I’m on a low budget
I’m not cheap, you understand
I’m just a cut price person in a low budget land
Excuse my shoes they don’t quite fit
They’re a special offer and they hurt me a bit
Even my trousers are giving me pain
They were reduced in a sale so I shouldn’t complain
They squeeze me so tight so I can’t take no more
They’re size 28 but I take 34

I’m on a low budget
What did you say
I’m on a low budget
I thought you said that

I’m on a low budget
I’m a cut price person in a low budget land

I’m shopping at Woolworth and low discount stores
I’m dropping my standards so that I can buy more
Low budget sure keeps me on my toes
I count every penny and I watch where it goes
We’re all on our uppers we’re all going skint
I used to smoke cigars but now I suck polo mints

I’m on a low budget
What did you say
Yea I’m on a low budget
I thought you said that
I’m on a low budget
I’m a cut price person in a low budget land
I’m on a low budget
Low budget
Low budget

Art takes time, time is money
Money’s scarce and that ain’t funny
Millionaires are things of the past
We’re in a low budget film where nothing can last
Money’s rare there’s none to be found
So don’t think I’m tight if I don’t buy a round

I’m on a low budget
What did you say
Yes, I’m on a low budget
I thought you said that
I’m on a low budget
I’m a cut price person in a low budget land
I’m on a low budget
Say it again
Low budget
One more time
Low budget

Source: Musixmatch

Songwriters: Raymond Douglas Davies

Brothers At Arms – John and Tom Fogerty

We all know the great album Brothers in Arms from Dire Straits, but sometimes those brothers are “at arms” rather than in them. In this part of the mini-series Randy, from mostlymusiccovers.com, talks about the “Rock ‘Em Sock ‘Em” Siblings of the Fogerty brothers from Creedence Clearwater Revival.

“Proud Mary” written by John Fogerty was CCR’s first big hit single peaking at #2.

Tom was the elder of the two brothers, he was born in 1941 (1990) and John was born in 1945, now age 78. They were born in Berkley but grew up in El Cerrito, California. Tom signed a record contract in 1959 but had little success in terms of recording a hit. John and his band would eventually provide backing to Tom and this led to the creation of the Golliwogs where John and Tom shared lead vocals. By the time Credence Clearwater Revival (CCR) had formed in 1967, John had stepped to the forefront as lead singer, guitar player, and principal songwriter.

That is Tom on the left and John on the right.

CCR would go on to what is now regarded as legendary success. Between 1968 and 1970 they released six albums, two of them charting #1. They still hold the record for having five songs reach #2 without ever having a #1 on the Billboard Hot 100.

Tom left the band early in 1971 to pursue a solo career. CCR would release just one more album Mardi Gras in 1972 but had recorded two of the songs before Tom left. There is no evidence that things got physical but they argued a lot and the tension was high.

Tom’s departure leads us further into the discussion about the feud between him and John was more than just that. As with any break-up, there are two sides to every story, and with this one, there are at least 5 sides, the most notorious falling out suffice to say is with John and their former boss at Fantasy Records, Saul Zaentz. I won’t get too much into that story today and most will be familiar with Zaentz taking control of the CCR music and also controlling the copyright and the infamous lawsuits. I discussed this in a post back in 2018.

John admittedly was so bitter he stopped playing music for almost 10 years. Some years after the nasty split up of CCR, Fogerty recorded two songs aimed squarely at Zaentz, “Zanz Kant Danz” and “Mr. Greed”. John would eventually emerge victorious over the lawsuits brought by Zaentz and his own subsequent countersuit.

For Tom’s part, he clearly sided with Zaentz. Early on Tom was named in the lawsuit against John and at one time referred to Zaentz as his “best friend”. The band, including Tom and Zaentz had their money invested and got a tip to pull out, they didn’t tell John and he lost almost everything. At the heart of the trouble was that Tom left CCR as he felt John had taken control of the band. This I think, is a fair statement. John wrote most all of the lyrics and the music. Certainly for all their big hits. He had the best and most distinctive voice, and at lead guitar was the best musician.

As a band member, Tom in all honesty could not, and did not do better. At their height, they were one of the most successful Rock bands and history has certainly born that out. An estimated 50 million in record sales in about five years is nothing to sneeze at. John as a solo artist has almost doubled that number.

“Have You Ever Seen the Rain”, words and music by John Fogerty and the last hit single before the departure of Tom from the band.

Now I am not saying John is blameless for the falling out, I am sure he might have handled things better, but his ego I think would get in the way. But there may have been little he could have done. Tom’s actions in many ways seem born of jealousy. He decided to leave CCR. I understand his reasoning, he felt he had some good songs and he wanted to sing lead on them, John felt that the band was doing just fine with the way things were, and he wasn’t wrong. Despite the success John brought to CCR, it seems after the breakup it was John that got the cold shoulder from everyone.

Once the band split a year or so later the acrimonious relationship(s) only got worse, with John at the center and Tom and the others all playing a part.

As mentioned, Tom would embark on a solo career with his first album charting at #78 which is the best he would do. I did hear Tom in an interview say that had he been able to do things over, he would not have left the band. John did contribute some guitar tracks on Tom’s Zephyr National (1974). John also attended Tom’s wedding in 1980 and a high school reunion in 1984, and at both they jammed a bit.

John released Blue Ridge Rangers (1973) which charted at #47 and then in 1975 his album John Fogerty had the hit single “Rockin’ All Over the World” that peaked at #27. The weight of the various lawsuits and his admitted bitterness over the feud with Tom and the others led him to withdraw from the business. He was actually barred from playing any CCR songs for several years.

Over the years that followed John made some attempts to reconcile, motivated more for their mother’s benefit. Tom would receive an HIV-contaminated blood transfusion after back surgery and the ensuing complications would lead to his eventual death in 1990. Truly tragic.

The brothers never did reconcile and for John’s part, he says he has forgiven Tom.

Kinks Weeks – Apeman … onceuponatimeinthe70s.com

I’m very happy to have Colin Jackson from Once Upon A Time In The 70’s guest host my blog today. Colin Jackson and Paul Fitzpatrick who both run Once Upon A Time In The 70’s grew up in Bearsden, a northern suburb of Glasgow, Scotland. They were school friends from the age of five until in 1974, aged sixteen, Paul left school to start a career working with fashion and sportswear brandsTheir paths would not cross again for forty-four years, during which time Colin pursued a career in Banking. Their site will take you back in time…just as well as a time machine!

THE KINKS: ‘Apeman’

Should Andy Murray have been born ten years either side of when he was, he’d have been the best tennis player of his generation. As it was, despite two Olympic gold medals and three Grand Slam titles amongst goodness knows how many other achievements, he will be forever mentioned almost as an afterthought in any conversation of the greatest players of the 2000s – possibly all time.

Damn those Federer, Nadal and Djokovic fellas!

A similar fate befell The Kinks, and Ray Davies in particular. Maybe they wouldn’t have gone down in history as the best band ever, but they certainly would have benefitted from a greater appreciation.

Damn those Lennon and McCartney and Jagger and Richards fellas!

Then again, I suppose it could be argued that without the Beatles and Stones, The Kinks wouldn’t have capitalised on The British Invasion of America.

Whatever, throughout the ‘60s and ‘70s The Kinks were always playing catch-up in the popularity stakes, despite their critical acclaim and string of hits. Sticking within those two decades, the band had nineteen Top 40 hits here in the UK, including three Number 1s. Not bad on any level.

I must confess, though, that I too am guilty of overlooking them in favour of (most definitely) The Rolling Stones and (yes, probably even) The Beatles. Which is a terrible admission to make, when I take a proper look at the prolificacy of Davies’s writing.

I’d not long turned twelve years old when this single was released. My musical bias had not yet been shaped. I just liked what I liked. I had no idea of what was ‘cool’ or otherwise. It would be a year further down the line before I decided I was a fan of The Sweet and John Kongos … but there was something about ‘Apeman’ I found so appealing.

Perhaps it was the catchy hook. Or maybe it was the (now cringeworthy) faux Caribbean accent during the short, spoken word passage. Or maybe, most likely it was, the silly video of some geezer dressed up like a gorilla and following the band around a most ‘un-jungle-like’ wet and miserable (London?) park.

It certainly wouldn’t have been the lyrics – not at that age. In fact, as I’ve alluded in the past, I’m still a bit of a philistine when it comes to song lyrics.  However, even a very young ‘me’ was aware of the Cold War at that time, and the line about not wanting to die in a nuclear war did hit home.

Ray Davies had of course by this time already shown a great deal of social conscience and disdain for the forsaking of tradition. I’m sure others will cover these, but think of ‘Dead End Street,’ ‘Autumn Almanac’ and ‘The Village Green Preservation Society’ for starters. So, for him to display the utopian spirit of peace and freedom would have come as no surprise who already appreciated his work.

Davies had (has) a knack of making serious comment from entertaining, upbeat and melodic songs. Almost fifty-four years on from ‘Apeman’ peaking at #5 in the UK charts, sadly nothing much appears to have changed. Indeed, the words are perhaps even more pertinent today:

… So I’m no better than the animals sitting

In the cages in the zoo man

‘Cause compared to the flowers and the birds and the trees

I am an apeman

I think I’m so educated and I’m so civilized

‘Cause I’m a strict vegetarian

But with the over-population and inflation and starvation

And the crazy politicians

I don’t feel safe in this world no more

I don’t want to die in a nuclear war

I want to sail away to a distant shore and make like an apeman

 

________

Max’s Drive-In Movie – Enter The Dragon

Enter The Dragon Final

I remember black velvet paintings in the 1970s. Two of the biggest subjects of those paintings were Elvis Presley and Bruce Lee and at one time I had a Bruce Lee painting. Lee was one of my non-musical and non-baseball childhood heroes. This guy was the MAN. Bruce Lee was Rambo, Rocky, and the Terminator rolled into one…but with one difference…he was real. He also had a coolness about him.

After watching his movies when I was young I also purchased some nunchucks when I was a teenager and konked my noggin enough times to realize I was no Bruce Lee. Lee was the first actor to bridge East and West. He understood how to speak to both audiences no one else ever had. Enter the Dragon was the first film co-produced in Hong Kong and Hollywood. Bruce greatly influenced the action movie genre from the 70s to now.

Bruce would run into nut cases at times. Some person idiot would call him out and want to challenge him to a fight while he would be walking down the street and Bruce would have to defend himself while teaching the person a lesson. Imagine being the dolt who saw Bruce Lee and thought it would be a good idea to fight him. A boxer who sparred with him said “Body of a lightweight with a hit stronger than a heavyweight.”

Bob Wall who appeared in some of Bruce Lee’s movies said this.

One day, while filming Enter the Dragon, an extra taunted Bruce Lee and challenged him to fight. The extra told Bruce he was just an actor, not a martial arts expert… The whole thing went won like this. This kid was good. He was no punk. He was strong and fast, and he was really trying to punch Bruce’s brains in. But Bruce just methodically took him apart.

I mean Bruce kept moving so well, this kid couldn’t touch him…Then all of a sudden, Bruce got him and rammed his ass into the wall and swept him, he proceeded to drop his knee into his opponent’s chest, locked his arm out straight, and nailed him in the face repeatedly.

This 1973 movie was Bruce Lee’s final completed film before his death. The movie contributed to martial arts’s global popularity and helped make Bruce Lee’s legacy. I also want to include John Saxon in this. I’ve always been a fan of Saxon in whatever movie he was in. He plays a character named Roper in this flick. Saxon was also a student of Bruce Lee.

The movie’s plot is about a British intelligence agent named Braithwaite to participate in a martial arts tournament organized by the mysterious and reclusive crime lord named Han. Han is suspected of being involved in illegal activities such as prostitution, and human and drug trafficking, and the tournament is a cover for these operations. Lee’s mission is to gather evidence against Han and bring down his criminal empire.

It’s a good story movie with plenty of action scenes. I’ve seen some martial arts movies that dump the story and just go for action. This one is not like that…quality writing and acting throughout the film. It influenced many of the action films that came later. The film keeps the action, drama, and some comedy flowing. It’s worth it to see Bruce Lee with his almost balletic moves.

While filming Bruce in fight scenes Bruce had to slow down his movements so the camera would catch it. His training methods were legendary and some say he was the fastest human they had ever seen.

Before this, Bruce had problems finding acting jobs after the TV series The Green Hornet. He became a private instructor to the stars such as Steve McQueen, John Saxon, and more. He moved to Hong Kong in 1971 and made three Asian movies, Fists of Fury, The Chinese Connection, and Return the Dragon. 

The next movie was a joint production between Hong Kong and US production companies. The movie was Enter the Dragon and it was Bruce’s breakthrough movie. Unfortunately, Bruce Lee died six days before the film’s Hong Kong release.

Quotes:

  • Lee: Teacher?
  • Shaolin Abbott: I see your talents have gone beyond the mere physical level. Your skills are now at the point of spiritual insight. I have several questions. What is the highest technique you hope to achieve ?
  • Lee: To have no technique.
  • Shaolin Abbott: Very good. What are your thoughts when facing an opponent?
  • Lee: There is no opponent.
  • Shaolin Abbott: And why is that ?
  • Lee: Because the word “I” does not exist.
  • Shaolin Abbott: So, continue…
  • Lee: A good fight should be like a small play, but played seriously. A good martial artist does not become tense, but ready. Not thinking, yet not dreaming. Ready for whatever may come. When the opponent expands, I contract. When he contracts, I expand. And when there is an opportunity, I do not hit. It hits all by itself.

Kareem Abdul-Jabbar: Bruce created a jambalaya of martial arts, adding and discarding moves that were less effective. No wasted movements I took it to heart, I dedicated myself to preparation by maintaining complete focus during basketball practice and my training with Bruce. As a result, I became stronger, faster and a much more intense player. Bruce was an innovator and caused martial arts to move forward. … The skyhook is the embodiment of an efficient shot that requires minimal movement but sudden speed.